The Complete Marching Band Resource Manual is the definitive guide to the intricate art of directing college and high school marching bands. Supplemented with musical arrangements, warm-up exercises, and over a hundred drill charts, this manual presents both the fundamentals and the advanced techniques that are essential for successful marching band leadership. The materials in this volume cover every stage of musical direction and instruction, from selecting music and choreographing movements to improving student memorization and endurance to the creation of striking visual configurations through uniform and auxiliary units. Now in its third edition, The Complete Marching Band Resource Manual has been thoroughly updated to reflect new standards for drill design, charting, and musical arrangement. Offering a fresh approach to the essentials of good marching band design, this comprehensive resource shows both veteran and novice band directors how to prepare students to perform seamless and sophisticated musical formations.

Some thirty-two experts from fifteen countries join three of the world's leading authorities on the design, manufacture, performance and history of brass musical instruments in this first major encyclopedia on the subject. It includes over one hundred illustrations, and gives attention to every brass instrument which has been regularly used, with information about the way they are played, the uses to which they have been put, and the importance they have had in classical music, sacred rituals, popular music, jazz, brass bands and the bands of the military. There are specialist entries covering every inhabited region of the globe and essays on the methods that experts have used to study and understand brass instruments. The encyclopedia spans the entire period from antiquity to modern times, with new and unfamiliar material that takes advantage of the latest research. From Abblasen to Zorsi Trombetta da Modon, this is the definitive guide for students, academics, musicians and music lovers.

The Cambridge History of American Music, first published in 1998, celebrates the richness of America's musical life. It was the first study of music in the United States to be written by a team of scholars. American music is an intricate tapestry of many cultures, and the History reveals this wide array of influences from Native, European, African, Asian, and other sources. The History begins with a survey of the music of Native Americans and then explores the social, historical, and cultural events of musical life in the period until 1900. Other contributors examine the growth and influence of popular musics, including film and stage music, jazz, rock, and immigrant, folk, and regional musics. The volume also includes valuable chapters on twentieth-century art music, including the experimental, serial, and tonal traditions.

This is an extremely thorough 4 volume guide to the regimental march tunes and other parade music which inspired loyalty, pride and battlefield motivation for generations of Germans over three centuries. Built around a translation of the previously unpublished works of two great German military music historians, the late Lieutenant Colonel Joachim Toeche-Mittler and Lieutenant Colonel (Retd) Werner Probst, it describes the history of every march in the official collections sanctioned by successive kings of Prussia, German Emperors, and later by Chief Inspectors of Music of the German Republic and Third Reich. This work is no apology or eulogy for a militaristic culture now long gone amongst the German people, but a description of the international and home sources for the march repertoire, and the personalities involved in composing, commissioning, and dedicating marches to the leading personalities of the age, and their adoption as regimental music by the fighting units of Prussia and the other Old German States, Imperial Germany, and the later German Reich and Post War Republics of East and West Germany. The series will provide information about how the regimental bandsmen and signaller musicians on fife, drum and bugle paraded and performed this repertoire, the manufacture and embellishments of their instruments, Schellenbaum 'Jingling Johnnies' and Drum Majors' Staffs, and their employment and deployment in the ranks of the fighting units on parade and in battle. After a short introduction, Volume 1 concentrates on the vast official Royal Prussian collection of'regimental' and 'neutral' quick marches. Translated from previously unpublished original research by the late Luftwaffe Lt. Col. Joachim Toeche-Mittler, it provides a definitive description for each march, its composer, and how and by whom it was used, in many cases on campaign as well as on parade. With only one exception before 1914, every Prussian, and most non-Prussian regiments, had their regimental march from within this collection.

In Hymns for the Fallen, Todd Decker listens closely to forty years of Hollywood combat films produced after Vietnam. Ever a noisy genre, post-Vietnam war films have deployed music and sound to place the audience in the midst of battle and to provoke reflection on the experience of combat. Considering landmark movies-such as Apocalypse Now, Saving Private Ryan, The Thin Red Line, Black Hawk Down, The Hurt Locker, and American Sniper-as well as lesser-known films, Decker shows how the domain of sound, an experientially rich and culturally resonant aspect of cinema, not only invokes the realities of war, but also shapes the American audience's engagement with soldiers and veterans as flesh-and-blood representatives of the nation. Hymns for the Fallen explores all three elements of film sound-dialogue, sound effects, music-and considers how expressive and formal choices in the soundtrack have turned the serious war film into a patriotic ritual enacted in the commercial space of the cinema.

33 grand ceremonial pieces that are ideal for use at weddings, as voluntaries, or for recitals. Not all the music is loud and extrovert: together with pieces like fanfares and marches, the collection contains a sprinkling of quieter items in solemn mood.

Irish-born and Irish-descended soldiers and sailors were involved in every major engagement of the American Civil War. Throughout the conflict, they shared their wartime experiences through songs and song lyrics, leaving behind a vast trove of ballads in songbooks, letters, newspaper publications, wartime diaries, and other accounts. Taken together, these songs and lyrics offer an underappreciated source of contemporary feelings and opinions about the war. Catherine V. Bateson's Irish American Civil War Songs provides the first in-depth exploration of Irish Americans' use of balladry to portray and comment on virtually every aspect of the war as witnessed by the Irish on the front line and home front. Bateson considers the lyrics, themes, and sentiments of wartime songs produced in America but often originating with those born across the Atlantic in Ireland and Britain. Her analysis gives new insight into views held by the Irish migrant diaspora about the conflict and the ways those of Irish descent identified with and fought to defend their adopted homeland. Bateson's investigation of Irish American song lyrics within the context of broader wartime experiences enhances our understanding of the Irish contribution to the American Civil War. At the same time, it demonstrates how Irish songs shaped many American balladry traditions as they laid the foundation of the Civil War's musical soundscape.

At the turn of the twentieth century, the United States extended its empire into the Philippines while subjugating Black Americans in the Jim Crow South. And yet, one of the most popular musical acts was a band of "little brown men," Filipino musicians led by an African American conductor playing European and American music. The Philippine Constabulary Band and Lt. Walter H. Loving entertained thousands in concert halls and world's fairs, held a place of honor in William Howard Taft's presidential parade, and garnered praise by bandmaster John Philip Sousa-all the while facing beliefs and policies that Filipinos and African Americans were "uncivilized." Author Mary Talusan draws on hundreds of newspaper accounts and exclusive interviews with band members and their descendants to compose the story from the band's own voices. She sounds out the meanings of Americans' responses to the band and identifies a desire to mitigate racial and cultural anxieties during an era of overseas expansion and increasing immigration of nonwhites, and the growing "threat" of ragtime with its roots in Black culture. The spectacle of the band, its performance and promotion, emphasized a racial stereotype of Filipinos as "natural musicians" and the beneficiaries of benevolent assimilation and colonial tutelage. Unable to fit Loving's leadership of the band into this narrative, newspapers dodged and erased his identity as a Black American officer. The untold story of the Philippine Constabulary Band offers a unique opportunity to examine the limits and porousness of America's racial ideologies, exploring musical pleasure at the intersection of Euro-American cultural hegemony, racialization, and US colonization of the Philippines.

At the turn of the twentieth century, the United States extended its empire into the Philippines while subjugating Black Americans in the Jim Crow South. And yet, one of the most popular musical acts was a band of "little brown men," Filipino musicians led by an African American conductor playing European and American music. The Philippine Constabulary Band and Lt. Walter H. Loving entertained thousands in concert halls and world's fairs, held a place of honor in William Howard Taft's presidential parade, and garnered praise by bandmaster John Philip Sousa-all the while facing beliefs and policies that Filipinos and African Americans were "uncivilized." Author Mary Talusan draws on hundreds of newspaper accounts and exclusive interviews with band members and their descendants to compose the story from the band's own voices. She sounds out the meanings of Americans' responses to the band and identifies a desire to mitigate racial and cultural anxieties during an era of overseas expansion and increasing immigration of nonwhites, and the growing "threat" of ragtime with its roots in Black culture. The spectacle of the band, its performance and promotion, emphasized a racial stereotype of Filipinos as "natural musicians" and the beneficiaries of benevolent assimilation and colonial tutelage. Unable to fit Loving's leadership of the band into this narrative, newspapers dodged and erased his identity as a Black American officer. The untold story of the Philippine Constabulary Band offers a unique opportunity to examine the limits and porousness of America's racial ideologies, exploring musical pleasure at the intersection of Euro-American cultural hegemony, racialization, and US colonization of the Philippines.

There were approximately 7,000 full-time bandsmen serving in the British army in the interwar years. This was about a third of the total number of musicians in the music profession in the United Kingdom, making the War Office the largest single employer of professional musicians in the country. British army musicians were a key stakeholder in the music industry in the United Kingdom, but also farther afield, where it made a significant contribution to the maintenance of British imperial authority. To sustain the large number of bands, residential institutions provided young boys for recruitment into the army as bandsmen and, as a consequence, the army set the standard for musical training and performance. The music industry relied upon the existence of army bands for its business and the military played a significant part in the adoption of an international standard of musical pitch. Nevertheless, there was a tempestuous relationship between army bands and the BBC, as well as the recording industry as a whole. Using untapped sources and original material, Major David Hammond reveals the role and soft power influence of British army music in the interwar years.

"Roll With It" is a firsthand account of the precarious lives of musicians in the Rebirth, Soul Rebels, and Hot 8 brass bands of New Orleans. These young men are celebrated as cultural icons for upholding the proud traditions of the jazz funeral and the second line parade, yet they remain subject to the perils of poverty, racial marginalization, and urban violence that characterize life for many black Americans. Some achieve a degree of social mobility while many more encounter aggressive policing, exploitative economies, and a political infrastructure that creates insecurities in healthcare, housing, education, and criminal justice. The gripping narrative moves with the band members from back street to backstage, before and after Hurricane Katrina, always in step with the tap of the snare drum, the thud of the bass drum, and the boom of the tuba.

Although military music was among the most widespread forms of music making during the nineteenth-century, it has been almost totally overlooked by music historians. Music & the British Military in the Long Nineteenth Century however, shows that military bands reached far beyond the official ceremonial duties they are often primarily associated with and had a significant impact on wider spheres of musical and cultural life. Beginning with a discussion of the place of the military in civilian and social life, authors Trevor Herbert and Helen Barlow plot the story of military music from its sponsorship by military officers to its role as an expression of imperial force, which it took on by the end of the nineteenth century. Herbert and Barlow organize their study around three themes: the use of military status to extend musical patronage by the officer class; the influence of the military on the civilian music establishments; and an incremental movement towards central control of military music making by governments throughout the world. In so doing, they show that military music impacted everything from the configuration of the music profession in the major metropolitan centers, to the development of wind instruments throughout the century, to the emergence of organized amateur music making. A much needed addition to the scholarship on nineteenth century music, Music & the British Military in the Long Nineteenth Century is an essential reference for music, cultural and military historians, the social history of music and nineteenth century studies.